Credit to the Albanian tenor Saimir Pirgu for selecting repertoire that fits his voice in this operatic recital. His bright, open tenor has a lustrous ring, yet he has avoided using this disc as a pitch for heavier Italian repertoire – Gabriele Adorno (Simon Boccanegra) and Rodolfo (La bohème) are as tough as the going gets.

Pirgu hasn’t always impressed me in the opera house. His sense of style can be blunt but he produces some invigorating performances nonetheless. This disc, sensitively accompanied by the Maggio Musicale Fiorentino and Speranza Scappucci, should act as a very good calling card. Pirgu’s timbre isn’t quite Italianate but he sounds rather like Giuseppe di Stefano in the area from A flat to B flat above the stave – slightly strained but exciting too, even if di Stefano was more sensitive. When it comes to phrasing, Pirgu’s Werther lacks poetry – I’m not convinced that French repertoire is a natural fit for his voice, his Faust aria climaxing on an ungainly high C.

The Italian arias here come off very well, though. There is a passionate account of Federico’s Lament from L’arlesiana, including some lovely use of head voice, while ‘Che gelida manina’ has a touching earnestness. His Edgardo from Lucia di Lammermoor includes dramatic, urgent recitative and he displays good bel canto style, not pushing the voice too hard.

Pirgu’s Alfredo is a well-known quantity. Although he doesn’t do much with recitatives, ‘De’ miei bollenti spiriti’ isn’t unduly forced and the cabaletta (both verses) has an unbuttoned, thrilling quality suiting the character’s impetuosity. Two of the Duke of Mantua’s arias are present, the ubiquitous ‘La donna è mobile’ concluding the disc with a flourish. The heroic ring in Macduff’s aria from Macbeth hints at heavier Verdi roles that could come in time if Pirgu looks after his voice and selects his roles with care. A disc that promises much.